On the other hand, Michaelangelo Merisi da Caravaggio’s Holy Family with St. John the Baptist (1603) (See illustration below), while depicting the two children as close in age, presents them in a typical Caravaggesque style--i.e., a genre type of model, an ‘every day’ type. The Madonna is not idealized, but appears to be a young woman drawn from the masses. Caravaggio portrays the Christ child with a ruddy faced, colored by the sun. The representation of the Christ child hugging his mother’s neck for comfort and/or protection may seem to be quite natural, but this type of intimacy--i.e., of the Christ child towards the Madonna--is rarely encountered in painting before this period. The nudity of the Christ child may be a bit disconcerting to some as well. There is a long history of the portraying the infant Jesus nude, but an infant and a child are two different things. The models for the Christ child and St. John the Baptist could have been from two urchins taken off the streets. Caravaggio’s doe-eyed, peasant Madonna looks directly at the viewer as she grasps, not supports her son with her right hand while the rugged St. Joseph looks on. The whole may appear to be quite naturalistic, but, this type of naturalism had rarely been applied to the Holy Family before. In addition, there is something slightly disconcerting in Caravaggio’s Christ child as there is with the child Jesus in Parmigianino’s (Francesco Mazzola) Madonna with the Long Neck (1535) (See illustration below).